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Disher notes that this version of the folklore tale was “strangely perverted” considering Venus, instead of the fairy godmother, is responsible for Cinderella’s eventual triumph. He decorates her with a scarf and diamond ring as tokens of his love. Cinderella is in rags as the Prince's men pass by. The critique and its publication have been ascribed to Mr. He notes that the grandeur and magnificance of the grand tale has rarely been equalled, never excelled to the infinite credit of the ballet. Characters: Prince Calidore, afterwards Harlequin; Baron Pomposini, afterwards Pantaloon; Pedro, his servant, in love with Cinderella and afterwards Dandinee; the Baroness, afterwards Clown; Clotilda and Tabitha, two sisters; Cinderella, afterwards Columbine; Finetta, the Fairy Godmother to Cinderella. But Finetta drives them all away, informing the Prince that Cinderella was the beautiful maiden at the ball that he so loved, and transforming Cinderella into Columbine, the Prince into Harlequin, the Baroness into a clown, the Baron into Pantaloon, and Pedro "thou poor enamour'd loon" into Dandinee; that is, until the lost slipper be found. 14, where Finetta announces: "The slipper found, your task is o'er, / The pow'r to punish, is no more--/ But in Finetta's Temple, this pair shall prove / The joys that wait on constant love! [See also Lacy's Acting Edition under Opera, below, which includes stage directions absent from this edition. Joseph Wood), Baron Pumpolino of Montefiesco (Penson), Alidoro the Prince's Tutor (Stansbury), Dandini the Prince's Valet (Morley), Pedro the Baron's servant (Keeley), Cinderella (Miss Mary Ann Paton), Clorinda and Thisbe, daughters of the Baron (Cawse and Hughes), the Fairy Queen (Miss H. 3: A trio, suggesting a plot akin to Rossini's opening scene, with Clorinda and Thisbe complaining about dress, hair, joy, etc. The Prince laments some "Demon's opposing malice," as the chorus comments on his raging passion. Bigwiggo awakens him, after checking his large clock, but he would rather dream of her face. Cinderella appears and the Baron slaps her and so do the sisters. More work for Cinderella, though Pedro is sympathetic and helps. The Prince arrives with the slipper, though Clotilda and the Baron rage, the Prince discovers Cinderella in an instant. " The Fairy Godmother then invites everyone to see the "Grand Transformation Scene, entitled A Fairy's Wedding," with dances by the Orange Blossoms and Forget-me-nots in the Land of Purity and Truth; then the Harlequinade dancers.], by Charles Rice (1819-1880). Venus role in the Drury Lane production brought together ballet and melodrama, as it included a ballet of Loves and Graces on the island of Cytherea (303). Mountain), Nymph commissioned by Venus (Miss Tyrer), The Graces (Miss B. Midnight comes, but Love moves the clock's hands backward, as if to give them another hour. "It is perhaps one of the happiest tales that possibly could be selected to instruct and amuse the rising generation. / Here Cinderella this prize shall win / And in Wedlock's bonds be join'd with Harlequin."] The Music composed by Rossini containing choice selections from his operas of Cenerentola, Armida, Maometto 2do, and Guillaume Tell. Grieve and Finley: The Whole arranged and adapted to the English Stage by and Produced under the direction of M. Performed for the first time at the Theatre Royal Covent Garden, Tuesday, 13 April 1830. This version was frequently performed in America in the 1840s. Cawse); Hunters, attendants, pages, grandees, visitors, Tyrolese Dancers, Sylphs, and Fairies. Cinderella sings repeatedly her "Once a King there chanc'd to be" song, to the objection of the sisters. ) Tyrolese dances by Mesdames Vedy, Bedfore, and Mr. Presumably the plot is now following Perrault's glass slipper scenario, perhaps through mime? Cinderella sings her song again, now with words defying sorrow: "Now with grief no longer bending / Shall my heart neglected sigh! She is ordered to help them and they all call her to help them at once. The Baron plays fiddle so that the sisters can practice. After the Baron and sisters leave for the ball Cinderella stirs the fire. The Prince sings "Will a Monkey." Bigwiggo introduces representatives of various countries. 7: The Ball-Room in the Prince's Palace Looking out upon the Grounds. They dance, then sit to watch a Terpsichorean game at cards that ends with a remarkable shuffle. She carries a riding-whip or a jewelled cane, and a cocked hat, usually with an erect feather in it. Over her fine bosom falls a cascade of lace ruffles, and nestling in the lace is a large oval diamond the size of a hen's egg. 130), who makes up for the missing mother and the inept father and completes her mythic dream as the real Buttons could not do.], at Drury Lane Theatre in 1702. A wrinkled old woman leading a ragged boy enters begging. Instantly they are transformed into a beautiful female and lovely page. John Rich, inventor of the Harlequinade, was the first to describe a play as a pantomime. With a wave of the wand Cinderella is transformed too, and then Pedro as well. Cinderella appears, accompanied by Pedro and the page. The clock strikes twelve and Cinderella flees, losing one of the glass slippers. This jewel, as I see it, symbolizes the feminine genital" (pp. Rather than a sex-change he represents a sex-fusion, which is not the case with the Ugly Sisters, played by men, who are like mean brothers depriving Cinderella of her feminity by abuse--a grotesque masquerade. Cinderella longs for the impossible ideal figured in Principal Boy (both mother and father figure) and cannot appreciate Buttons, who loves her and "is the only human being in this galaxy of Panto mortals and immortals.
Tears both on and off the stage were shed in great abundance. A procession and proclamation of the search for the slipper's owner. At first the sisters would block Cinderella from her chance, but the Prince insists on a fair trial; the slipper fits and Cinderella produces its mate. Pantomime works frequently cite his scholarly interest in the genre, but I have not yet been able to identify specific works by Brown devoted to the subject.] [The first mention of Cinderella occurs in Chapter VI, which focuses on Joseph Grimaldi. A grand dress descends from the clouds and fixes on Pedro. The Palace Ballroom, with splendid banquet and music. As they do so the Prince comes with the slipper, various candidates try it on, for ludicrous effect. The Prince looks into her face lovingly and the slipper fits. The Nymph enters, Hymen attends with his torch, and the Prince and Cinderella kneel at the altar and are made happy. The application for permission to perform is registered with the Lord Chamberlain by John Fawcett 20 March 1820, with performance at the Theatre Royal, Covent Garden, beginning 22 March 1820. Finetta the godmother appears, and tells "Moth and gaudy Fly" to fetch the pumpkin, trap with dappled mice, the sleek , fat, "old grey whisker'd Rat" in the barn, "six dainty Lizards green," and changes Cinderella's dress for the ball, with glass slippers to crown all. Finetta warns Cinderella about the midnight deadline when she must "be at home." Sc. The Prince prefers bumpers of wine to logarithms and double equations. Fairy Serena appears instantly, and with three wand waves transforms Cinderella's garb. At Drury Lane, Grimaldi performed “Cinderella”, however, a critic dubbed his song and performance as “base,” and Grimaldi left Drury Lane in the fall of 1805 (98). The Nymph warns Cinderella about midnight, she enters the carriage and goes to the palace. The Prince sees Cinderella in the dress of his dream and is enchanted. The sisters return and the announcement of the Prince's search is made. She forgives the sisters and introduces them to two noblemen. The story, which follows the critique is based on Samber's translation of Perrault, where after the first night at the ball Cinderella asks Charlotte for one of her dresses but is denied and mocked as "Cinderbreech" for playing "Miss Pert." Another edition of this work was published in 1808.]. The pantomime is in manuscript, a part of the Larpent collection, no. The manuscript is five pages long and includes 14 scenes of dialogue and choruses, in couplets. Recitative by Cinderella on her scullery work, her "doom." Sc. The Baron receives news of the ball and reads the invitation that admits the Baron, his lady, and her two daughters. 5 Finetta punishes Cinderella for spurning her command. The Baroness sides with the Fairy godmother's scolding of Cinderella. He takes a nap and Fairy Butterfly gives him a vision of Cinderella. Pedro, on his way to shave the Baron, repeatedly answers the door for the Milkman, the Baker, Butcher, and then the Postman, who presents an invitation to the Prince's Ball. Produced at the Theatre Royal, Covent Garden 1875-76. George), Papillion, Queen Butterfly (Miss Emma Walters), Cinderella (Miss Amelia), Salprunella (Mr. He was a performer and founder of Covent Garden Theatre. The little page fondles Cinderella, a sign of love twining himself around her heart. The first Cinderella stage production was in 1804, though the first real pantomime treatment was not until 1864. In 1948 alone, there were 37 different Cinderella productions in England. Performed at the Theatre Royal Drury Lane 24 December 1803. [Cast: The Prince, Cupid, Hymen, Page, Pedro; Venus, the Graces, Cinderella, Two Sisters, Fairy. The Immortals sing praises to Venus, who announces her plan.